What we do have in common is a larynx, a breath system, articulators, and the functions of the rest of the body. If we are to find our own voice as performers, if we want to accurately imitate another’s voice, if we are to deliver speeches that have authenticity, or speak other languages fluently – then we need to understand how the body works.
At the 2013 Australian Theatre Forum, a dance practitioner stood up at the final discussion and pointed out that –‐ over the past three days, we didn’t ever talk about what it is an actor does –‐ unlike a recent dance forum she’d attended where dance, and the dancer’s body, was central to the discussion.
I am interested in the connection between literacy and language issues, and the growing demand in Australia for speech pathologists and remedial support. I feel a sense of urgency in helping address the variety of issues that are presenting in schools and in private practice. These issues include (but are not limited to): poor literacy skills; poor posture and body use; chronic over-breathing and the prevalence of mouth breathing; and changes in diet which see some children not eating fruit and veg and subsequently not chewing hard food, and the resultant lack of development in their soft palate and other musculature necessary for good speech. When working with young voices, we cannot ignore these issues.
I am further convinced that the way we approach arts training, from the earliest age, has a direct impact on the way the whole industry is viewed and understood, and, indeed, on the way culture, creativity and innovation are valued and supported.
We need to recognize the impact of the health and literacy issues preventing children and young people from reaching their full potential and prioritise actions that will turn this trend around.
We need to expect anyone working with young people’s voices to have the required expertise and be committed to ongoing professional development.
Teaching artists and practitioners working with young people need to commit to ongoing professional development and personal exploration if they are to be the best role model for their students (and be prepared to self-fund at least some of this professional development and not wait for it to be initiated by someone else)
We need to work in languages other than English as often as possible and develop works that are multilingual.
We also need greater understanding, at a policy level and across portfolios, of what arts and culture bring to all aspects of life, more strategic partnering between arts organisations and educational organisations, and also with scientific/medical organisations.
There needs to be more awareness of the specific skills required by a teaching artist (beyond their area of artistic practice) as well as greater respect and support for their work .
During my recent Churchill Fellowship I attended the Pan European Voice Conference (PEVOC), based at the Rudolfinum and at the Prague Conservatory, The major message coming out of PEVOC, particularly at the Final Plenary session, was –‐ all those working with young voices need to have a very sound anatomical and physiological basis for their work.
The recommendation was made, by voice scientists and vocal coaches, that those who do have accurate information about the way the voice works and how to, safely, get the best out of it, need to be influencers in their communities. Those who are teaching, directing choirs or leading drama classes –‐ without any real knowledge of how the voice works –‐ need to address this and upskill themselves. There is an enormous amount of great information readily available in books, online, being presented at conferences and seminars, and there are wonderful teachers and coaches who could be accessed as professional mentors. There’s really no excuse for peddling incorrect information.
We may have needed to find the ‘Australian’ voice back in the 60’s, but maybe now we need to look more closely at the many variations of that voice, and embrace them all, along with all our languages, with technical proficiency and awareness in our performance practice.
This article is an edited extract of Dianna Nixon’s Churchill Fellowship report on approaches to encouraging and supporting young and developing voices.
